C O L L E C T I O N S E T A C Q U I S I T I O N S
2015-2016 ANNUAL REPORT
4 MESSAGE FROM THE CHAIR OF THE BOARD
6 MESSAGE FROM THE PRESIDENT AND CHIEF EXECUTIVE OFFICER
8 COLLECTION AND ACQUISITIONS
14 KNOWLEDGE AND RESEARCH
16 CONSERVATION
18 EXHIBITIONS
28 EDUCATIONAL AND CULTURAL MISSION
36 MARKETING AND COMMUNICATIONS
40 McCORD MUSEUM FOUNDATION
44 FINANCIAL STATEMENTS – MUSEUM FINANCIAL STATEMENTS – FOUNDATION
49 DONORS AND PARTNERS 2015-2016 BOARD OF TRUSTEES MUSEUM TEAM
MISSION ACCOMPLISHED!
M E S S A G E
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F R O M MONIQUE JÉRÔME-FORGET CHAIR OF THE BOARD
T H E
McCORD STEWART MUSEUM
C H A I R O F T H E B O A R D
David W. Marvin, Mural painters, downtown, about 1969-1970 Gift of Mrs. David W. Marvin, MP-1978.186.1.3748 © McCord Museum ––
Three years after the McCord and Stewart museums began the merger process, we are proud to say: mission accomplished! Thanks to the hard work and good will of both museum staffs, we have successfully integrated our personnel and programs. Both institutions have benefited from this stimulating synergy and the Museum has, once again, finished the fiscal year with a balanced budget. With new exhibitions that highlight its impressive collection using a contemporary approach, the Stewart Museum is attracting more and more visitors to St. Helen’s Island, while the McCord Museum is constantly enhancing its dynamic programming and innovative educational and cultural programs. The new McCord Stewart Museum is, first and foremost, a museum devoted to history; it therefore has an important educational role to play. The constraints imposed by our current buildings and locations unfortunately prevent us from fulfilling this role as fully as we would like. At the moment, the space available for learning activities can accommodate approximately 20,000 children. However, if we want to properly meet the demand, this capacity should be at least three times higher. Advances achieved since the merger have shown that it is important to combine the two museums into a single, easily accessible location as soon as possible and significantly expand the floor space available for displaying our collections and accommodating our public. The McCord Stewart Museum is one of Montreal’s major tourist attractions; as such, it is crucial to make it more accessible and more emblematic of its unique treasures. Combining our collections in a single, larger and more functional location would be more efficient and enable us to exhibit a more representative proportion of what we hold in storage. It would also save money on administrative costs. The Government of Québec and the Ministère de la Culture et des Communications have clearly understood this; consequently, they have given us a grant to create the operating and technical program for our proposed new museum. On behalf of my colleagues on the Board and everyone on the McCord Stewart Museum team, I would like to thank them for making it possible for us to take this first step towards realizing our vision for the future. I would also like to thank the Conseil des arts de Montréal for its encouragement and unwavering support. Our highly professional President and Chief Executive Officer and her team have once again done a tremendous job; Suzanne Sauvage, a dedicated, exceptional manager, is supported by a team of outstanding professionals and all contribute enormously to the success of the McCord Stewart Museum. I would like to thank them wholeheartedly for the hard work and resourcefulness they have shown in implementing the merger of the two institutions. Thanks to them, our exhibitions have been both critical and popular successes, attracting media interest and thus further enhancing the Museum’s public profile. Finally, I would like to express my appreciation to the members of our Board of Trustees, who do such remarkable work, often behind the scenes. François Duffar has moved to the board of the McCord Museum Foundation, while four other trustees left the board during the past year: Salvatore Iacono, Christena Keon Sirsly, Alexandra Schwartz and Frederick Sneider. All deserve our sincere thanks for their dedication and vital contributions to the success of the McCord Stewart Museum, a museum that truly has, as the expression goes, the wind in its sails.
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CONGRATULATIONS ON A JOB WELL DONE
M E S S A G E
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F R O M T H E
SUZANNE SAUVAGE PRESIDENT AND CHIEF EXECUTIVE OFFICER, McCORD STEWART MUSEUM
P R E S I D E N T A N D C H I E F E X E C U T I V E O F F I C E R
Horst directing fashion shoot with Lisa Fonssagrives, 1949. Photo by Roy Stevens / Time&Life Pictures/Getty Images ––
The merger of the McCord and Stewart museums was not only a stimulating challenge, it also provided numerous opportunities to clarify the new museum’s mission and take steps to ensure that it is seen as emblematic of our city’s rich history by Montrealers and visitors alike. The McCord Stewart Museum has become a major player in the Montreal cultural scene, as illustrated by its high-profile exhibitions and growing attendance. In fact, the Museum welcomed a record number of visitors to its two sites in 2015-2016. Furthermore, the quality and diversity of the sixteen exhibitions presented over the past year were recognized and praised by both the public and our peers across Canada and around the world. Several of these exhibitions were especially successful, namely Horst: Photographer of Style, which attracted over 70,000 visitors at the Museum. Other exhibitions that made 2015-2016 such a banner year were Montreal Through the Eyes of Vittorio: 50 Years of City Life and Graphic Design, devoted to the work of renowned Montreal poster designer Vittorio Fiorucci, and D’Artagnan, Al Capone and the Others – Weapons and Legends at the Stewart Museum, which featured 25 legendary characters, both real and fictional, and the weapons associated with them. The Museum’s ongoing commitment to innovation led it to develop citizenship programs that adequately reflect Montreal’s cultural and social diversity; to this end, it participated in the citizen-led 25,000 Tuques Project, in co-operation with the Red Cross, to knit hats for Syrian refugees. The Museum donated a total of 8,000 knitted hats created on site or dropped off at the Museum. We also took part in an ephemeral museum pilot project at Viger Square, the Maison du Père and Accueil Bonneau, an initiative that gave many homeless people an opportunity to discover the history of their city. In addition, working with the Centre hospitalier de l’Université de Montréal (CHUM university hospital), we continued our intergenerational program Sharing our Memories, our Stories, which enables young people to meet with seniors and develop singular, productive relationships with them. The Museum acquired over 7,000 artefacts and more than 10 linear metres of textual archives in 2015-2016. Since our storage space is already filled to capacity, the need for a larger facility is only becoming more obvious. Thanks to the support of the Quebec government, we are working on an operational and technical program to clearly define the needs to be addressed when developing our proposal for a new Museum site. The competence and expertise of our curators and conservators means they are invited to publish across Canada and internationally. We are proud of their renown and achievements, particularly the publication, in co-operation with the Université du Québec à Montréal (UQAM), of the proceedings of Collecting Knowledge: New Dialogues on McCord Museum Collections, a 2013 colloquium that involved all of our curators. I would like to express my sincere appreciation to all the members of our team for their dedication and commitment; in particular, I would like to thank those who worked on updating our Website, which was awarded a prize for best site, arts and culture, in the Boomerang digital competition organized by Infopresse. Finally, many thanks to the members of our Board of Trustees for their unwavering support and trust. The year 2017 will mark the 375th anniversary of the founding of Montreal. We look forward to this celebration with confidence, convinced that our programming for this occasion will make Montrealers prouder than ever of their museum.
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NEW ACQUISITIONS
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The McCord Stewart Museum collection is one of Canada’s largest sources of documents and artefacts for historical research. In 20152016, this collection was enhanced by 145 donations, for a total of 7,037 artefacts and 10.08 linear metres of textual documents.
A N D A C Q U I S I T I O N S
CATEGORIES
DONATIONS
ARTEFACTS/DOCUMENTS
ICONOGRAPHIC ARCHIVES (CARICATURES)
12
1,868
PHOTOGRAPHIC ARCHIVES
12
3,476
TEXTUAL ARCHIVES
4
10.08 LINEAR METRES
DECORATIVE ARTS
23
284
COSTUME AND TEXTILES
30
785
ETHNOLOGY AND ARCHAEOLOGY
3
40
PAINTINGS, PRINTS AND DRAWINGS
13
557
INTERCOLLECTIONS
44
(SET OUT ABOVE)
STEWART COLLECTION
4
27
TOTAL
145
7,037 ARTEFACTS AND 10.08 LINEAR METRES
S T E W A R T M U S E U M
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NEW ACQUISITION
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Notman & Sandham, Princess Louise Dragoon Guards, Ottawa, 1879, composite photograph. Gift of Mrs. Diane Bourdeau, M2015.79.1 © McCord Museum ––
Le Conseiller des Dames et des Demoiselles. Journal d’économie domestique et de travaux à l’aiguille, vol. 5, Paris, 1852. RB-2203 © McCord Museum ––
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CULTURAL PROPERTY
C O L L E C T I O N A N D A C Q U I S I T I O N S
CANADELLE WONDERBRA COLLECTION, GIFT OF CANADELLE LIMITED PARTNERSHIP
During the year 2015-2016, nine donations were recognized by the Canadian Cultural Property Export Review Board as being of outstanding significance and national importance. These donations included five paintings by Jack Beder (1909-1987), one of the most established members of a group of artists called “Jewish Painters of Montreal” who depicted the social realism of Montreal during the 1930s and 1940s.
In 2015, the McCord Museum received an exceptional donation: a large collection of Wonderbra samples from the Canadelle company in Montreal. The Museum selected 442 undergarments and bathing suits from among over 2,400 articles illustrating the history and evolution of women’s undergarments in the 20 th century.
Cultural property: Jack Beder, Sherbrooke Street East, Montreal, 1939. Gift of André Valiquette, M2015.51.5 © McCord Museum ––
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Dream Lift push-up bra, Wonderbra, 1963. Gift of Canadelle Limited Partnership M2012.92.X © CNW Group/Wonderbra ––
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SEVERAL REMARKABLE DONATIONS
Montreal, Montreal, Montreal, Sheet music by Willie Eckstein, 1945. Gift of the Estate of Paul Viau P767/B3,2 © McCord Museum ––
Charles C. Gurd, 1475 des Pins Avenue West, Montreal, 1974. Gift of Charles C. Gurd, M2015.36.355P2 © McCord Museum ––
Sugar bowl, Burlington Glass Works, 1875-1909. Gift of the Estate of Léonard Dupuis M2015.120.34.1-2 © McCord Museum ––
Phoebe Seaton, Saint Helen’s Island, 1831-1832. Gift of Eryll Fabian, M2015.48.1.77 © McCord Museum ––
FONDS WILLIE AND KITTY ECKSTEIN, GIFT OF THE ESTATE OF PAUL VIAU
PHOTOGRAPHS FROM THE “MONTREAL MANSIONS PROJECT,” GIFT OF CHARLES C. GURD
A COLLECTION OF CANADIAN GLASSWARE, GIFT OF THE ESTATE OF LÉONARD DUPUIS
SEATON ALBUM, GIFT OF MRS. ERYLL FABIAN
William Eckstein (1888-1963) was a prominent pianist on Montreal’s cultural scene during the first half of the 20 th century. A pioneering musician, he was very influential in his time. The documents preserved in this fonds provide a record of the professional activities of this pianist born in Point St. Charles, his colleagues, his concerts and achievements, as well as his personal life.
Taken in 1974, these photographs by Charles Gurd document the architecture, furnishings and décor of several prestigious Montreal mansions that, from 1900 to 1930, were home to prominent, influential individuals associated with the history of Canada and Montreal. This gift includes over 2,000 images in the form of original prints, modern prints, negatives and digital images.
This array of 50 pieces of pressed glass was selected from among nearly 1,000 objects collected by Léonard Dupuis in Quebec and Ontario over more than thirty years. For his collection, Mr. Dupuis focussed on objects representative of the Canadian pressed glass industry and oil lamp production.
This album was a gift from Tunbridge Wells, England. The vast majority of its 120 watercolours and drawings were created by the donor’s greatgreat-grandmother, Phoebe Seaton, during a stay on St. Helen’s Island from 1830 to 1832. Phoebe was accompanying her husband, Thomas Seaton, who was working as the doctor for the British army troop stationed on the island.
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A N D A C Q U I S I T I O N S
M U S E U M
Object loaned to the Sherbrooke Fusiliers regimental museum: Cuirassier helmet of Lt. Col. Charles Westley MacLean, 13th Scottish Light Dragoons, 1904-1936, 1970.100.9 © Stewart Museum ––
Object loaned to the Agnes Etherington Art Centre:
Nunavimiut doll, 1945-1950, Purchase of the Canadian Guild of Crafts, ACC5919.1-2 © McCord Museum
“Opera” section of the exhibition Montreal Through the Eyes of Vittorio: 50 Years of City Life and Graphic Design. ––
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LOANS TO OTHER MUSEUMS
BORROWED OBJECTS
The McCord Museum made or renewed 10 loans in 2015-2016, for a total of 34 objects in circulation. Among the museums to benefit were the Canadian Museum of History in Gatineau, the Agnes Etherington Art Centre in Kingston and the Confederation Centre of the Arts in Charlottetown.
For the presentation of the exhibitions Montréal – Points of View, Wearing Our Identity - The First Peoples Collection, Love in Fine Fashion, Camp Fires: The Queer Baroque of Léopold Foulem, Paul Mathieu and Richard Milette, Montreal Through the Eyes of Vittorio: 50 years of city life and graphic Design, Mister Rabbit’s Circus, Decolonial Gestures or Doing it Wrong? Refaire le chemin and the upcoming Notman – A Visionary Photographer, the McCord Museum borrowed 272 objects over the year 2015-2016. The exhibition devoted to poster designer Vittorio required the Museum to process 162 borrowed objects, posters and documents.
For its part, the Stewart Museum made or renewed 16 loans, for a total of 72 objects in circulation. Several institutions, including the Montreal Museum of Fine Arts, the Château Ramezay, the Musée de la civilisation, the Sherbrooke Fusiliers regimental museum and the Marguerite-Bourgeoys Museum, have displayed these loans.
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THE ARCHIVES AND DOCUMENTATION CENTRE PROVIDES ACCESS TO THE McCORD STEWART MUSEUM’S COMBINED COLLECTIONS
K N O W L E D G E
The McCord Stewart Museum’s Archives and Documentation Centre is an essential reference for researchers from many fields. This wealth of information can be accessed in two ways: by consulting the online database or by using the computerized catalogue available on-site at the Museum, which is even more complete. Users of the Archives and Documentation Centre also have access to a library of 9,000 reference works, specialized periodicals and the 2,300 or so titles in its rare book collection. In addition, researchers can consult more than 780 archival fonds and collections comprising more than 285 linear metres of textual documents and over 1.3 million photographic archives. The Museum’s Archives Centre is certified by the Bibliothèque et Archives nationales du Québec (BAnQ); as such, it receives an annual grant to support its efforts to develop archival collections and make them accessible to a wide public. Over the year 2015-2016, the Centre’s staff welcomed 425 researchers on-site for a total of nearly 600 research visits and answered approximately 1,750 requests by telephone, email or mail. The staff also led several guided tours of the Centre and made its resources available to a number of researchers, notably from universities, First Nations communities and the local community.
A N D R E S E A R C H
SHARING OUR EXPERTISE PUBLICATIONS, PRESENTATIONS AND PARTNERSHIPS
The McCord Museum is always proud to share its knowledge and expertise with other institutions and the public. Staff from the Collections and Research and Conservation departments publish articles, present scholarly papers at colloquia and workshops, and collaborate with academic and other communities. Selected Presentations
Christian Vachon, Curator, Paintings, Prints and Drawings, presented a paper entitled “La collection de caricatures politiques du Musée McCord : accès et valorisation” at a one-day discussion forum entitled Le patrimoine politique du Québec : un état des lieux des traces documentaires organized by BAnQ and the Société du patrimoine politique du Québec (SOPPOQ) on May 22, 2015. Hélène Samson, Curator, Notman Photographic Archives, presented a paper entitled “Artiste en résidence au Musée McCord : le cas de Kent Monkman,” at the colloquium Collections: They’re Back!, organized by the Groupe de recherche et réflexion CIÉCO : Collections
Aislin, Mount Royal Cross, The Gazette, March 13, 2008. Gift of Terry Mosher, M2016.28.5 © McCord Museum ––
et impératif événementiel / The Convulsive Collections, held at the Musée d’Art de Joliette on March 19, 2016. Cynthia Cooper, Head, Collections and Research, and Curator, Costume and Textiles, presented a paper entitled “Love in Fine Fashion: A Fresh Approach to an Exhibition of Wedding Dresses,” at the ICOM Costume Committee Annual Meeting, on the theme Exhibitions and Interpretation, held in Toronto September 8 to 13, 2015. Following the Toronto event, the Museum hosted a post-conference tour on September 15 for fifteen international attendees, featuring presentations and workshops by several members of the Collections and Research and Conservation staff. Scholarly Publications
The Museum published the proceedings of the colloquium Collecting Knowledge: New Dialogues on McCord Museum Collections held in 2013. Seven members of the Museum’s staff contributed to this publication, which was edited by Joanne Burgess, Cynthia Cooper, Céline Widmer and Natasha Zwarich, and published by Éditions Multimondes. Anne MacKay, Head, Conservation, in February 2016 published an article entitled “The Frame in Context: The Seagram Cities of Canada Collection at the McCord Museum” in The Journal of Canadian Art History, Vol. XXXV: 2. Céline Widmer, Curator, History and Archives, co-authored an article with Nicolas Bednarz entitled “Archives au pluriel : le Montréal de 1914-1918. L’expérience d’une création collaborative et multidisciplinaire,” in Lemay, Y. and Klein, A. (eds.), 2015, Archives et créations : nouvelles perspectives sur l’archivistique. Cahier 2, Montreal, QC: Université de Montréal, École de bibliothéconomie et des sciences de l’information (EBSI). Christian Vachon, Curator, Paintings, Prints and Drawings, selected the illustrations and wrote the preface for Cinquante ans de caricatures en environnement, a book published by Éditions Écosociété and launched at the McCord Museum on April 16, 2015. Other Publications Book Montreal Through the Eyes of Vittorio
This work by Marc Choko, curator of the exhibition Montreal Through the Eyes of Vittorio: 50 Years of City Life and Graphic Design and Professor Emeritus, UQAM School of Design, was co-produced with the Museum’s teams to mark the exhibition. It can be purchased at the Museum Boutique. Montreal, Éditions de l’Homme, 2015.
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During treatment –– Pierre Granche, Totem urbain – Histoire en dentelles, 1992. Art and architecture integration policy, Government of Quebec, M992.112.1.1-2 © Pierre Granche Estate / SODRAC Photo credit: McCord Museum
After treatment
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16 – 17 CONSERVATION
The Conservation Department is critical to the Museum’s mandate because its mission is to preserve the collections and maintain the highest environmental standards for the storage, handling and transport of museum objects. In addition, the Department’s conservators undertake treatment on objects from the Museum’s collections and conduct scientific research on conservation issues. During the summer of 2015, the Department supervised major restoration work on Totem Urbain : Histoire en Dentelles, a public art sculpture created in 1992 by Pierre Granche. Nestled in an exterior bay on the west side of the Museum, it had been damaged by falling ice in the early spring. The treatment, carried out by conservation company CSMO (Conservation of Sculpture, Monuments and Objects), restored the work to its original splendour while improving its overall stability and the system for securing its component parts. As it does every year, the Conservation Department also lent its expertise to the planning and mounting of the Museum’s various exhibitions, treating more than 400 objects for the exhibitions Montreal - Points of view, Mister Rabbit’s Circus, Decolonial Gestures or Doing it Wrong? / Refaire le chemin and Wearing Our Identity - The First Peoples Collection. In the case of Wearing Our Identity - The First Peoples Collection, several ethnological objects taken out of storage for the first time underwent major treatment; this vital operation contributed a great deal to the understanding of these objects, thanks to the specific conservation techniques used.
Purse (detail) Métis, 1880-1890. Gift of Julien F. Gaudet, ME988.136.6 © McCord Museum ––
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E X H I B I T I O N S
EXHIBITIONS AT THE McCORD MUSEUM
MONTREAL – POINTS OF VIEW PERMANENT EXHIBITION – SINCE SEPTEMBER 2011
Folding fan, 1850-1875. Gift of Esther Kerry, M976.45.2 © McCord Museum ––
Montreal - Points of View explores ten different facets of Montreal’s history, from its earliest residents (before the arrival of Europeans) to the city of today with its metro and skyscrapers. Visitors are invited to discover iconic districts, pivotal moments in the city’s history and the people who marked its development. The exhibition makes use of new media, incorporating touch screens, listening stations and podcasts that provide visitors with access to additional content on some of the objects on display. In short, it offers a contemporary look at a fascinating multi-faceted city. A work created by internationally renowned contemporary artist Kent Monkman as part of the Museum’s 2013 Artist in Residence program has been added to the exhibition. This contemporary work was inspired by images in the McCord Museum’s Notman Photographic Archives collection. ––
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WEARING OUR IDENTITY. THE FIRST PEOPLES COLLECTION PERMANENT EXHIBITION – SINCE MAY 2013
Bandolier bag, Anishinaabe,1900-1919. Gift of C. S. Rackstraw, ME954.1.24 © McCord Museum ––
Vittorio, Viva Pedro, 1976. Judith Adams Collection, photo credit: Richard Max-Tremblay ––
Created in a close partnership with First Nations communities, this exhibition invites visitors to reflect on clothing as a means of identity affirmation. For the First Nations, Métis and Inuit, dress does not serve solely utilitarian purposes; it also helps quickly differentiate between allies and enemies and keep the latter at bay, demonstrate the power of spiritual leaders like shamans and, in the case of finely decorated clothing, express the respect that hunters have for the animals that enable their families to survive. A major symbol of the First Nations, Métis and Inuit, clothing contributes to the development, preservation and communication of their social, cultural, political and spiritual identities. Contemporary works are added to the exhibition twice a year. Chosen by curator Nadia Myre, a member of the Algonquin Nation in the Kitigan Zibi Anishinabeg community, these works enable First Peoples to demonstrate their desire to preserve and revive their ancestral cultural values while continuing to create and innovate. This year, contemporary artists Rebecca Belmore and Scott Benesiinaabandan both presented works of identity art. Rebecca Belmore, a renowned Canadian artist, has been drawing inspiration since 1987 from the social and political situations—both past and present—facing Aboriginal peoples. Working across photography, video, documented performance and printmaking, Scott Benesiinaabandan addresses ideas of reclamation, sovereignty and global Indigeneity as expressed through cultural crisis/conflict and political manifestations. ––
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HORST: PHOTOGRAPHER OF STYLE MAY 14 TO AUGUST 23, 2015
Produced by London’s Victoria and Albert Museum, this travelling exhibition was the first major retrospective of the works of Horst P. Horst (19061999), a legendary artist and recognized master of light, form and composition. Working mainly in Paris and New York, he was one of the most influential fashion and portrait photographers of the 20 th century. Horst’s photos appeared in countless issues of Vogue magazine. The exhibition featured more than 250 vintage shots that transcend time. In addition to the photographs, the retrospective displayed sketchbooks, a short film, archival footage, contact sheets and magazines, as well as eight haute couture dresses from celebrated designers like Chanel, Molyneux, Lanvin, Schiaparelli, Maggy Rouff and Vionnet. Also included were a number of less well-known aspects of Horst’s work: nude studies, travel shots from the Middle East, patterns created from natural forms, interiors and portraits. Finally, the exhibition chronicled his creative process and artistic influences. A North American exclusive. ––
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Muriel Maxwell, American Vogue cover, Horst P. Horst, 1 July 1939 © Condé Nast / Horst Estate ––
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MONTREAL THROUGH THE EYES OF VITTORIO: 50 YEARS OF CITY LIFE AND GRAPHIC DESIGN
CAMP FIRES: THE QUEER BAROQUE OF LÉOPOLD L. FOULEM, PAUL MATHIEU AND RICHARD MILETTE
SEPTEMBER 25, 2015, TO APRIL 10, 2016
APRIL 10 TO AUGUST 16, 2015
This provocative exhibition brought together some 60 works by three internationally renowned Francophone ceramic artists from Montreal, united by their common experience and a critical discourse on gay identity. The three ceramic artists share a post-modern predilection for humour, appropriation and pastiche as well as social and cultural criticism. For more than 30 years, they have explored the theme of “camp,” an artistic sensibility that emerged in the 20 th century alongside queer exuberance. ––
Richard Milette, Guasparre, 2000. Collection of the artist, photo credit: © Richard Milette –– Léopold L. Foulem Bicycle Seat Blue and Yellow, 1977. Collection of the artist, photo credit: © Toni Hakenscheid ––
The works of internationally celebrated Italian-born poster artist Vittorio Fiorucci (1932-2008), who helped brand the landscape of Montreal for generations, bear witness to almost a half century of life in his adopted city. Vittorio’s highly distinctive art is defined by his simple shapes, vibrant colours, enigmatic characters and playfulness. More than 125 posters, photos, illustrations and comic strips took visitors on a journey through the cultural and social milestones of our city from the 1960s to the end of the 20 th century. Right up to the end of his life, Vittorio continued to work in a variety of fields—culture, art, economics, commerce, values and lifestyle—leaving behind a major body of work. ––
AFTER FACEBØØK: IN LOVING MEMORY
